Lady Whistledown is indeed a prominent character in Julia Quinn's books, but once her identity is revealed in the fourth novel, Romancing Mister Bridgerton, Penelope Featherington retires her quill. The decision made in the book makes plenty of sense because once she becomes a Bridgerton, and her identity is no longer anonymous, the column is unnecessary.
While it's utterly iconic that Julie Andrews narrates for the Netflix series, the overly dramatic plot lines that are added because of the gossip post take away from the romance. In addition, now that there's a new person, it also takes away from Penelope's agency since she chose to retire to focus on her own novel.
Fully retiring Whistledown and giving Penelope her freedom as an author who's writing her own story would make Bridgerton (2020) more impactful and allow the romantic arcs to shine as they were supposed to. We breakdown why the latest plot twist at the end of Season 4 frustrates viewers more than it delights them.
Penelope Featherington Is a Stronger Character Outside of Lady Whistledown
In the books, when Penelope starts the column, it's because she's consistently on the outside looking in, and it's her biggest outlet to also escape from her life at home. It's her freedom, and her safe space. Her entries in each chapter are delightful and fun, but in the series, Bridgerton pushed the drama too far. People aren't watching this show for the drama, but for the romance. We're here for the couples. And we don't just want to see the current season's leads, but we want those who came before them, too. We want the showcase of ordinary days and quiet moments. Colin and Penelope get a few beats in Season 4, Kate and Anthony briefly return with their son, Edmund, too, but frankly, it's never enough.
As a character, Penelope is an incredibly well-written, complex woman, and she's consistently brought to life through incredible performances from Nicola Coughlan. But Whistledown feels like the show's guinea pig now. It's insulting that there's a new one, without her approval, and it's frustrating that this will likely lead to more contrived drama with Queen Charlotte trying to uncover her identity. Those plot-specific narrative points will take away from character-driven moments that'll allow us to get to know our favorites, instead of sitting with the Ton's drama longer than we need to.
‘Bridgerton’ Should Let Go Of Lady Whistledown Fully For More Romance
A large part of the appeal of each season is the fact that we explore a different couple and trope every time. From fake dating to opposites attract, there's something for everyone. In the first three seasons, it made sense that the Ton was heavily involved, but Benedict and Sophie's arc proves that we can step away from societal expectations and dive deeper into more intimate stories. Both Eloise and Francesca, who'll be the leads of the next two seasons, take a step away from London society, and their stories take place elsewhere. One is in the countryside, while the other could be in Scotland, as it is in the books.
Most romance fans aren't here for the drama, but we're here for the love stories. The massive popularity of couples like Kate and Anthony, as well as Colin and Penelope, proves that viewers want to see what comes after the love declarations, too. Heck, I wish we could've seen more from Simon and Daphne, too. We don't just need all the angst leading up to their happy ending, but we want all the quiet moments in between.
Bridgerton Seasons 2 and 3 both suffered from unnecessary subplots that favored drama instead of contained and quieter character moments. As the identity of Whistledown continues to be a conversation and the hunt for juicy gossip takes a front seat, the romantic arcs won't get the attention they deserve. Like in the second and third seasons, they'll be left on the back burner.
Ultimately, Bridgerton Season 4 detaching Lady Whistledown from Penelope and therefore making "her" a character on her own is a disservice to the detail that the show is an anthology romance. It tells its audience that plot is more relevant than romantic relationships. People care about Penelope for all that Coughlan does to layer the character, but Whistledown today simply isn't as compelling on her own. She's used as an unnecessary narrative device, whereas Penelope started the column with a bigger purpose that she's now fulfilled.
